The Nouvel Ensemble Moderne (NEM) kicked off its 35th season on Monday evening. A concert that blended the diverse horizons of the ensemble, between creations, rearrangements and contemporary repertoire, all were able to find pleasure in the dazzling sonorities of these clearly talented musicians.
Among the musicians was François Vallière on viola, who arranged John Rea’s first piece for 15 instruments, and who was excellent throughout the evening. In fact, this was the motto for all the musicians: excellence. From the clarity of tone to the richness of timbre and accuracy, it’s hard to question the quality of the interpretation of the works, especially the premieres. The intensity of the percussion, performed by Julien Grégoire, is to be commended. And, of course, all was calmly and confidently conducted expertly by Lorraine Vaillancourt, the ensemble’s founding conductor, this 35th season being her last at the helm of the NEM.
Of the four pieces on the program, three were premieres, two of which were complete. John Rea’s Tableaux de La Meninas, variations on Schumann’s Kinderszenen, presented themselves as delicious musical tapas, taking the form of pastiches of various 20th-century composers. Very entertaining, and we’d love to hear more! The first of the two creations to follow, Samuel Andreyev’s Contingency Icons, effectively explores timbres and plays with extremes. The opening is reminiscent of one of the movements from Stravinsky’s Rite of Spring, which makes for a superb transition since the Rea ended with a pastiche of the latter. The second work, La persistance, l’éphémère by Tomás Diaz Villegas, explored the different effects and rhythms that the ensemble’s instruments could offer.
The final work, the pièce de résistance, was Harrison Birtwistle’s Secret Theatre. It was a synthesis of the other works presented that evening, with elements found at their core, but in a more structured form. There are also new elements, such as string slides that verge on the microtonal, and physical movements by the musicians, who gradually ascend a stage at the back as the piece progresses. Intriguing, the piece is warmly applauded by the audience and praised after the concert.
The Studio Théâtre at Espace Danse in the Wilder Building was pleasantly full. The presence of a large delegation in the audience testifies to the importance of the NEM for the Montreal and Quebec contemporary music scene.
A great opening to this anniversary season!
To learn more about the NEM’s next concert, click HERE.
For the Vivier’s complete programme, click HERE.
Photo credit: Philippe Latour
